Since 1997 Michel F Côté, Bernard Falaise and Alexandre St-Onge have been releasing music under the moniker Klaxon Gueule. These albums take bits from noise, experimentalism, avant-garde, free improvisation, and jazz to create something forward-thinking. The group have now released their eighth album, Entièrement unanimes, loosely translated to Fully Unanimous. Using the blueprints of the previous 24-years to create their strongest release to date. Which is no easy feat!
From the opening salvo, there is something wonderfully wonky about Entièrement unanimes. Its charm comes from the giddy glee that seeps out of every pore. It reminds me of those early electronic albums where it was more about experimentation, and fun than what was actually created. That isn’t to say that Klaxon Gueule hasn’t crafted some wonderful music. Non-lieu d’adieu is a fantastic piece of music that lurches around over ad-hoc percussion, whimsical synths, and delightful bleeps.
Toute la glu is built around a fidgeting bassline which allows lyrical guitars and obtuse synths to create something that is both transfixing and repulsive. You are drawn to it and cannot look away, but there is something at its core that makes you want to flee. This juxtaposition is something that has been missing on their previous releases, but here is used to make our stay and lives up to its title of All the Glue. Entièrement unanimes culminates on Deux ouverts directement devant. Here everything is pushed to it (ill) logical conclusion. From the psychedelic intro, gossamer guitars and xxx we are shown another side to the band. The previous 11 tracks have been atonal twitching things, but here Klaxon Gueule shows us they are capable of creating something beautiful and, dare I say, almost conventional. There are actual melodies and rhythms to latch on to, rather than writhing layers of server instrumentation. It is a fitting end for such a delightfully deviant album.
At its core, Entièrement unanimes is an incredibly fun album. There is a conviction to the album that is inspiring. It doesn’t take itself too seriously, but the playing is done with absolute seriousness. There is no messing about here. But this is part of the album’s charm. After a quarter to a century performing and recording Côté, Falaise and St-Onge know each other well. They can predict what they others will do and counterpoint it perfectly. After listening to Entièrement unanimes for longer than I should, I am unanimous in my decision that it is one of the finest albums of the past few years. This should be shouted from the rooftops. Entièrement unanimes should be on everyone’s end of the year list and if it isn’t then you need to take a hard look at yourself in a mirror.